Uncategorized
70 years ago, this Jewish choreographer predicted our epidemic of loneliness and isolation
When the dance begins, they are all onstage together. But they are each very much alone. In the opening vignette of Anna Sokolow’s “Rooms,” there are eight chairs scattered across the stage and eight performers who inhabit them — like city apartments squished so close together yet keeping their occupants apart.
No one makes eye contact. They stare straight ahead. They stand and sit back down. They flop to the side and fold themselves over their thighs. They stretch out horizontally, one leg extending on a diagonal before falling to the floor with a thud. One dancer sets her chin in her palms, her gaze fixed on a corner, as though willing herself to see through a brick wall.
These are people trapped in their own tiny worlds, radiating loneliness, isolation, restlessness, fear, fantasy, desire, distress, panic.
Watching them at the Museum of Jewish Heritage in New York City last month — the day after the U.S. and Israel launched attacks on Iran, 13 months into a second Trump administration that has targeted immigrants and transgender people, among others, and in the midst of what former Surgeon General Vivek Murthy’s 2023 report deemed “our epidemic of loneliness and isolation” — one could easily imagine “Rooms” was created in 2026. Or during the global pandemic and lockdowns of recent history.
But Sokolow was long gone by the time COVID forced us into our own rooms, physically and socially distant from almost everyone else. She didn’t live to see the tiny screens and tempting apps that would degrade our attention spans and become intermediaries in so many of our conversations. She missed the rise of artificial intelligence chatbots that offer alternatives to human interaction.
Sokolow, who died in 2000 at the age of 90, created “Rooms” seven decades ago, in the wake of a world war and the Holocaust, at a time when polio was rampant, and in the midst of a nuclear arms race and the Red and Lavender Scares of the 1950s.
Yet “Rooms” still feels believable, relatable and unsettling today.
‘An incredible humanity’
The daughter of Russian Jewish immigrants who arrived in the U.S. at the turn of the 20th century, Sokolow grew up on the Lower East Side of New York City — at the time, the densely packed “capital of Jewish America.” Sokolow’s mother, Sarah, a factory worker, was active in the International Ladies Garment Workers Union and was, as Sokolow later described her, “a staunch Socialist.”
Sarah was “angered by the conditions she observed all around her,” writes Sokolow’s biographer, Larry Warren, and kept up with “socialist causes and political activities” by reading Yiddish-language newspapers such as the Forward.
Like her mother, Sokolow looked closely at what was happening around her. She took it all in and put it onstage, Samantha Géracht, artistic director of the Sokolow Theatre/Dance Ensemble, told me.
“She walked everywhere,” said Géracht, who was part of the rotation of dancers who accompanied Sokolow to rehearsals when she kept walking everywhere, slowly, into her 80s. “Every shopkeeper, every unhoused person in a doorway, everybody spoke to her, and she spoke to everyone,” Géracht said. “She looked and saw everyone and everything, and she didn’t dismiss any of them.”
Though secular, Sokolow was driven by Jewish values, Hannah Kosstrin, a dance historian at Ohio State University and director of its Melton Center for Jewish Studies, told me over Zoom. “She was most interested in making dances about the underdog,” said Kosstrin, who is also the author of Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow. “About people who were not served by society, people who were unwanted, untouchable, and people who had been through the worst of humanitarian experiences.”
In the 1930s, she made, among other dances, the anti-fascist “Anti-War Trilogy”; “Slaughter of the Innocents,” inspired by the Spanish Civil War; and “The Exile” — which portrayed Jewish life in Europe and the arrival of Nazism. She danced “Kaddish” in 1945 as an “elegy” mourning the Jews who perished in the Holocaust, according to Kosstrin, and later choreographed “Dreams,” which Géracht describes as Sokolow’s “Holocaust nightmares onstage.”
Her work “has an incredible humanity to it,” Kosstrin said.
Kosstrin first encountered Sokolow through a film of “Rooms” as a freshman dance major. “I just remember being absolutely taken with it. It was so intense and so gritty and so real,” she said. “I felt a very particular kind of distress in a way that I had never felt watching dance before,” she added. “That was so incredibly powerful.”
“Rooms,” which had its New York premiere in 1955, was inspired by the Lower East Side tenement houses of Sokolow’s youth. It’s spare — performed with no backdrop, only lighting, chairs, and simple costumes to an original jazz score by the American composer Kenyon Hopkins. Part of its enduring potency is that it could represent any time and any place.
‘I believe you’
Introducing the performance at the museum, Géracht set the scene with one simple instruction. Picture, she told the audience, a building with its facade removed so you could peer into all the apartments and look — really look, as Sokolow would — at the people inside.
In one vignette titled “Going,” a man careens about like he’s just flipped the release valve on his pent-up energy, exploding in big jumps, sliding onto the floor, and snapping his fingers. In “Desire,” six dancers slide their feet back and forth as though caressing the ground. They reach an arm or a leg, as if yearning to entangle their limbs with a lover’s.
In “Escape,” I saw a woman dance with someone who isn’t there. She stands, arms thrown up high, spinning around herself. She flits around the stage. She pulls two chairs to face each other, sits down, and catches the air in an empty embrace. Later, she swipes at each of the chairs in turn and they clatter to the ground.
“She’s very different from me,” dancer Ilana Ruth Cohen told me of the character she embodies in “Escape.” “I do not escape easily, and I don’t tend to look for an escape.” What’s helped, she said, is “remembering the moments I do have where I am drifting or dreaming or imagining being somewhere else, and then trying to use Anna’s movement to expand my experience of those moments.”
There are no prescribed narratives in “Rooms,” just snippets of images and an urgency of emotion that might be read differently by every spectator. That’s OK, Cohen said. “I’m not trying to make sure that the audience knows what my experience is,” she explained. “I’m using my experience to make the movement true, and then the audience has an experience because they’re with me as that’s happening.”
Kosstrin focused her research around the idea of “honest bodies” in part as a way “to highlight Sokolow’s emphasis on believable, raw vulnerability in performance.” As such, Lauren Naslund, an associate artistic director of the ensemble, told me at a recent rehearsal, high praise from Sokolow would be: “You’re doing it in your own way, and I believe you.”
In the vignette “The End?” I saw a woman having a breakdown. Her left hand makes talking motions — thumb to fingers, open and shut — arguing with her right. Her fingers rise toward her ears and wiggle frantically as she extends her arms outward. She steps onto her chair, head tilted back, and flaps her arms like wings in slow motion. Her fragile psyche manifests in movement. She is, perhaps, hearing voices in her head. Feeling her thoughts slip out of her control. Wondering whether she wants to remain in this world.
“Rooms” concludes as it starts, with eight chairs and eight dancers — so close to each other, but still very much alone.
There’s a clip Géracht shows in her lectures with a voiceover from Sokolow speaking on top of footage from “Rooms.” “I don’t end it, because I don’t feel there’s any ending,” Sokolow says. “That’s the Jew in me. Ask the world a question and there’s no answer. All I do is present what I feel and you, you answer.”
‘A kind of beacon’
The Sokolow Theatre/Dance Ensemble was about four weeks away from presenting “Rooms” when the COVID-19 pandemic sent everyone home in March 2020 and cleared live performance calendars indefinitely. Suddenly, Géracht said, “we didn’t have to struggle with the idea of how to understand isolation.”
Relegated to their homes like everyone else, the dancers continued working on “Rooms” over Zoom. “You can’t go outside. There’s no classes. There’s no rehearsals. There’s nothing,” remembered dancer Margherita Tisato, who performs the challenging solo “The End?”. “Having a task and having time to dedicate to do this was definitely lifesaving on an emotional level, probably for a lot of us.”
At the same time, she said, “it was asking me to dig more and more deeply into the thing that was, at the moment, really, really hard.” The project provided a creative outlet, but also forced her to grapple with her own feelings of aloneness and isolation.
Eventually, the dancers worked with their rehearsal directors to select the right angles, propped up their computers and phones, and hit record to capture themselves navigating bookcases, coffee tables, cats, and narrow hallways. Naslund edited the footage together to create “Rooms2020,” a COVID-era interpretation of the piece they couldn’t share in person. They later partnered with Madison-based Kanopy Dance to livestream a joint production from Wisconsin and New York, offered virtual workshops to college dance students, and put on a “Rooms” symposium.
“There could not have been a better dance to stage during the pandemic than ‘Rooms’ on video in people’s apartments,” Kosstrin said. Looking back, she said, it offers a social, emotional, and aesthetic window into that moment, with so many stuck in their own bubbles and thrust into each others’ living rooms through tiny squares on their screens.
Géracht said she immersed herself so deeply in “Rooms” that she needed a break before revisiting it again. Although the lockdown experiences are still embedded in the dancers’ bodies and memories, they couldn’t let the work get stuck or stale.
“You don’t want to replicate what you did six years ago,” said Géracht.
“It’s like going on a hike up a really high mountain. Maybe you’ve climbed that mountain,” she said. “You kind of know the way, but you still have to do the whole hike from the bottom to the top.” Every time you do it, “you’re different, the movement’s different, the world is different. And I don’t want the last version you did. I want you now. Which is why we can do the work for so long.”
Géracht is intent on breathing new life into Sokolow’s dances in 2026 and beyond. She wants audiences to experience the “wealth and range” of Sokolow’s work and “understand her genius,” Géracht said, as an artist who “shows us our entire spectrum of human emotion.”
In “Rooms,” Sokolow reminds us, in 2026 as in 2020 as in 1955, what it’s like to crave connection or touch. To conjure a loved one in our mind, only to be startled by the reality of their absence. To get lost in a daydream. To fear what’s outside our control. To feel utterly alone. To be consumed by panic. To fall apart.
Complete, live productions of “Rooms” are somewhat rare. But the ensemble has just confirmed it will perform the piece again at the Philadelphia Fringe Festival in September. Having seen — and felt — it for myself recently, I hope there will be many more shows to come.
Distressing as it may be to see this “cry of alienation and isolation” reflected back at us right now, Kosstrin said, it could also help us find our way. “We are seeing so many things happen around us that [are] making us question our humanity and other people’s humanity,” she said. Artists like Sokolow, she believes, “can give us a kind of beacon as we try to muddle through these times.”
The post 70 years ago, this Jewish choreographer predicted our epidemic of loneliness and isolation appeared first on The Forward.
Uncategorized
House Democratic leader Hakeem Jeffries calls for ‘dramatic change’ in Israel policy
(JTA) — U.S. House of Representatives Minority Leader Hakeem Jeffries, a New York Democrat poised to become the chamber’s speaker in January, called for a significant shift in the U.S.-Israel relationship but stopped short of opposing defense partnerships.
“The status quo is unacceptable, and we need dramatic change,” Jeffries told reporters at a Thursday press conference.
Jeffries expressed a need for such change with respect to the West Bank, to Gaza and to a memorandum of understanding with Israel over military aid set to expire in 2028. That agreement, signed by the Obama administration in 2016, pledged $38 billion in military aid for Israel from fiscal years 2019 through 2028.
President Donald Trump has said he will wind the aid down before it is set to lapse, citing Israel’s unpopularity, and Israeli Prime Minister Benjamin Netanyahu also backs ending military aid and replacing it by strengthening U.S.-Israel military cooperation.
But when asked about recent demands from Sen. Chris Van Hollen to remove provisions on defense collaborations with Israel from the National Defense Authorization Act – the model of what Netanyahu hopes to sustain – Jeffries responded that he hadn’t spoken with the senator. Van Hollen, a Democrat from Maryland, plans to challenge Senate Minority Leader Chuck Schumer leadership of the Senate Democratic caucus when Democrats take over the chamber in January.
Instead, Jeffries said that “things have to dramatically change over in the Middle East,” without elaborating on the details of such changes. He stressed the importance of ensuring “a safe and secure Israel living side by side as a Jewish and democratic state with an independent Palestinian state that provides dignity and self-determination for the Palestinian people.” Netanyahu and much of the Israeli public oppose the establishment of a Palestinian state.
While Jeffries noted that he wasn’t saying anything he hasn’t “previously said publicly,” his decision to reiterate this need for change following the election as Democrats are set to seize control of Congress demonstrates how the party is adopting a more critical posture on Israel.
This past summer, Jeffries wrote to colleagues urging them to reject an amendment proposed by Rep. Thomas Massie, a Republican from Kentucky, that would have cut military aid to Israel. While a slight majority of Democrats voted in favor of the measure, it was defeated after getting no Republican support aside from its sponsor.
Jeffries had argued at the time that “there are more decisive ways to achieve the urgent change necessary when it comes to the far-right Netanyahu government,” warning that Massie’s amendment would have restricted Israel’s ability to confront Hamas, Hezbollah and other terror groups.
Nonetheless, Jeffries also noted in the letter that the Obama-era memorandum of understanding “expires imminently,” and that “a meaningful change in direction is needed.” Writing that Israel has a robust economy and is capable of paying for its own weapons, he said that future security arrangements “should be structured consistently with defense agreements that exist with our other Western allies.”
Since writing that letter in July in the lead-up to the midterm elections, Jeffries focused primarily on domestic issues and didn’t often address the Israeli-Palestinian conflict. On Thursday, however, the topic was back on the table.
“We’ll work as a caucus to make sure that we can bring about the just and lasting peace that Israelis and Palestinians deserve,” Jeffries said.
This article originally appeared on JTA.org.
The post House Democratic leader Hakeem Jeffries calls for ‘dramatic change’ in Israel policy appeared first on The Forward.
Uncategorized
Ahmed Moor, John Fetterman’s first challenger, envisions ‘Palestine-Israel, from the river to the sea’
(JTA) — When Ahmed Moor started his freshman year at the University of Pennsylvania in 2002, he remembers navigating an atmosphere of Islamophobia around the one-year anniversary of Sept. 11.
He recounted how as he was exiting a derelict math building known for what Moor described as its “dungeon-like” interior, he overheard a kippa-clad student commenting on the grossness of the neighborhood, noting that “it’s not like Ramallah or anything.”
“It was a tough environment,” Moor said, recalling that during a campus protest in 2003 against the Iraq war, he was met with “Go home, terrorist” and other such slogans. “You kind of build a muscle around that early on.”
More than two decades later, the 42-year-old Palestinian American writer is now Pennsylvania’s first candidate to announce a 2028 bid for Democrat John Fetterman’s U.S. Senate seat – running on a platform of dignity, equal rights and affordability.
Though still two years away, this high-stakes race could change how much support Israel gets from the Democratic Party. Fetterman, who hasn’t declared if he will run again, has irked many fellow Democrats by joining Republicans on certain issues, particularly in defending Israel, but has also maintained a powerful voice in a caucus that has held just 47 seats for the past two years. But that influence may soon dissipate, with the Democratic caucus poised to have at least 55 out of 100 seats when Congress convenes in January.
Regardless of whether Fetterman chooses to run, for Moor – a Democratic Socialists of America member from Philadelphia – to secure the seat would require a dramatic shift in voter trends across purplish Pennsylvania.
Moor enters the playing field with radically different stances on Israel and foreign policy from those that Fetterman has espoused. Moor’s priorities include stopping the funding of wars and trimming the military’s budget in general, as well as many domestic issues that Fetterman has historically supported, such as universal healthcare and childcare and affordable housing.
“The DSA presents a really good opportunity for the Democratic Party to re-energize, reinvent itself,” Moor said, describing the DSA as “a blood transfusion.”
An avowed anti-Zionist, Moor wants economic sanctions against Israel and to hold the country’s leaders accountable for what he alleges are war crimes. Ultimately, he said he hopes to see the development of one “Palestine-Israel” state that has equal rights for all — a dream that he said is rooted in American principles of emancipation.
Born in Gaza, Moor moved to Philadelphia as a child and went on to earn degrees from both Penn and Harvard, and started a career in finance. He then switched to journalism, reporting in Beirut and Egypt for The Guardian and other outlets, and co-editing the book “After Zionism: One State for Israel and Palestine.” He also spent many years in Jordan, where he launched a peer-to-peer lending organization, before returning to Philadelphia in 2021.
Looking back at his years as a college student, Moor recalled experiencing some “ambivalence about being an American, the promise of life, liberty, pursuit of happiness, the equality before the law,” particularly while he felt like people viewed him as an outsider.
But he said that things began to look up when he joined the Free Palestine Action Network, a fledgling campus group that existed before Students for Justice in Palestine.
Turning to the situation in the Middle East today, Moor said he still has family members in Gaza, as well as some in the West Bank. Many of his relatives in Gaza, he added, were killed during the war.
He noted that his aunt “was diagnosed with cancer and died a very painful death shortly after that because the hospital itself was destroyed.”
In the future, Moor said he would envision “all of Palestine-Israel, from the river to the sea” as one state with equal rights for “Jews, Palestinians, Druze” and everyone else, including “all of the East Asians who work there, who built lives there.” Lebanese areas currently under Israeli military occupation would go back to Lebanon, while the Golan Heights, captured by Israel in 1967, would go back to Syria, he added.
The leaders of this hypothetical state, according to Moor, would need “to represent everyone who lives under its authority,” with the Knesset legislating laws, the military serving all the people and Palestinians earning a right of return.
Moor compared the current phase of this conflict to mile 15 of a marathon: “Every footfall from here to the finish, 11 more miles, is painful.” Crossing the finish line, he argued, will require “the emancipation of the Palestinians, the right-sizing of our understanding of equal rights, where Jews don’t have superior rights in that country.”
Whether Moor’s Middle East positions will resonate with Pennsylvania voters when they choose their next senator in 2028 remains uncertain.
“If we look at the surveys leading up to the election, that issue didn’t come up a great deal,” Berwood Yost, a public policy expert at Franklin & Marshall College, told JTA. “It was the concerns about personal finances and economics and affordability that were largely driving voters.”
Daniel Hopkins, a political science professor at the University of Pennsylvania, told JTA that although the conflict is “highly evocative and emotive,” his polls have shown that “relatively few voters rank it as an important issue,” except in deep blue Philadelphia.
Yet even if the conflict doesn’t have a direct influence on most voters, Hopkins said that its divisiveness helps candidates distinguish themselves from rivals. For example, he continued, a stance on this subject can often serve as a shortcut to other views.
“The issue partly functions as a within-party issue that helps certain Democrats differentiate themselves from other Democrats,” he added.
For Moor, the idea of maintaining the status quo, which he described as preserving alliances just “to shore Israeli apartheid” would be inconsistent with American ideals.
He rejected the notion of a possible path forward with Gadi Eisenkot, the leader of Israel’s opposition bloc, who recently received a mandate to form a government to replace Prime Minister Benjamin Netanyahu’s ruling coalition.
“Jewish Israelis are confronted with a difficult frame now,” Moor said. “They don’t have any credible leaders who aren’t also implicated in genocide or massive war crimes.”
Asked if he considered Hamas militants to be war criminals, he responded that “everybody who’s committed a war crime is a war criminal.” But he argued that naming Hamas as such would be irrelevant, as the Israeli military had already killed most Hamas combatants, including former leader Yahya Sinwar.
Fetterman was still posting on X this week about “disarming Hamas,” noting that “this vote and voice will always follow our special ally.” Fetterman’s office did not respond to a request for comment.
Moor characterized the senator as “in the rearview mirror for Democrats,” adding that “Fetterman’s story is finished.”
Hopkins, from Penn, disagreed with that conclusion, pointing out that “no one knows whether Fetterman will seek reelection,” and that if he does so, it’s also unclear “whether he will do that as a Democrat.” Hopkins acknowledged, however, that the senator’s vote would be less powerful when it comes to legislating because of the decisive Democratic majority.
As for other possible candidates, Hopkins is looking at potential contenders such as U.S. Rep. Chris Deluzio, who represents southwestern Pennsylvania residents in Beaver and Allegheny counties, including some Pittsburgh suburbs. He also named Conor Lamb, an attorney who served in Congress from 2018 to 2023.
Yost, from Franklin & Marshall, cited these names as well, while noting that “Fetterman has alienated a number of people in his party.”
“There’s been increasing dissatisfaction among his base, including people who voted for him,” added Yost, who directs the college’s Center for Opinion Research and its Floyd Institute for Public Policy.
But Yost also stressed that “running in a state like Pennsylvania for an office like the U.S. Senate is a significant undertaking” that requires large amounts of travel, networking and fundraising.
“Starting now is not a bad idea,” he said. “Two years will be here before you know it.”
Although voters might not be “dialed in” to the 2028 elections for a while, Penn’s Hopkins added that “now is the period of time when candidates are beginning to jockey.”
“One strategy by declaring early might be to try to tell other contenders who would be in your lane, ‘Hey, I’m in this lane,’” Hopkins said.
As for the chances of a Democratic socialist in a swing state like Pennsylvania, Hopkins didn’t rule Moor out but said that “any such individual would have an uphill climb.”
Another Democratic socialist who Moor said he finds inspiring, Chris Rabb, recently won a U.S. House seat in Pennsylvania, but he did so in a heavily Democratic district of Philadelphia, Hopkins noted.
“Pennsylvania has not often nominated candidates who are on the extremes of their party,” he said.
But Yost also acknowledged that “these days, people want to see non-politicians running,” so Moor’s novice status would not necessarily create a barrier to his success.
Despite his relative inexperience, Moor said he is reaching for the Senate seat due to his passion for foreign policy. He said he has concrete ideas for optimizing the military, by deflating a “bloated weapons program,” focusing more on drones and then reinvesting in both jobs programs and climate resilience initiatives.
Recognizing the mammoth expense that running in a state like Pennsylvania involves, Moor said that his fundraising efforts have started out strong, with a lot of “small-dollar” contributions, including from many Jewish donors.
Asked if he had a message for Jewish voters, Moor said that he would convey that “we’re Americans first” and that he believes “in the dignity agenda for all Americans.”
“Poverty is indifferent about whether you’re Jewish or Palestinian, Black, white, whatever,” he said.
This article originally appeared on JTA.org.
The post Ahmed Moor, John Fetterman’s first challenger, envisions ‘Palestine-Israel, from the river to the sea’ appeared first on The Forward.
Uncategorized
What Muhammad Ali taught me from his Jerusalem hotel
The one time I got to talk to Muhammad Ali was a summer evening when I was working at one of my favorite college internships — in the McClurg Court newsroom of WBBM Newsradio 78, the Chicago affiliate of CBS Radio.
The scene came to mind earlier this week when I released a new audio documentary called Broken Hologram about Ali and his brief stint as a Broadway star. But back then, I was one of a quartet of interns who included a cool girl from Hyde Park named Gwen Billings with whom I occasionally took lunch at a nearby hot dog stand and discussed important news figures like, say, Depeche Mode and The Smiths. There was also Linda, a hard-nosed news reporter in the mold of Holly Hunter in Broadcast News. Sometimes she came around to my cubicle and took sips of my Dr. Pepper. Not in a flirtatious way, more in a proto-Daniel Day-Lewis “I drink your milkshake” kind of way. There was a fratty guy named Scott who wore a class ring from (redacted). He went on to a lucrative career, just not in journalism. There was one other dude; he was from Crown Point, Indiana, but that’s just about all I remember.
My job consisted of answering phones, ripping wire copy from the AP and UPI machines, getting sources on the phone and calling every major fire and police station every night to see if there was a story to be reported (“Hi, Sergeant Kupka, it’s Adam from WBBM: Do you have anything working in your area?”).
Even though every sergeant told me the same thing every night, I kept calling because that’s what journalists do: You keep making the calls. In fact, I did pretty much whatever was asked of me, and turned feisty only when one of the few asshole reporters tried to get me to run downstairs to the loading area to fetch him a “Green Streak” edition of the Tribune so he could check on his stocks or intimated that my job description should include making him coffee.
“Sure could do with a cup o’ coffee right now, Adam.”
“Cool, why don’t you make yourself one?”
Note: The individual referred to is decidedly not John Cody, a truly great man who remains a friend to this day. (Fun fact: During Vietnam, John worked for Stars & Stripes alongside Seth Lipsky, founder of the English language edition of the Forward)
Nor am I referring to sports reporter Rich King, a prince of a man who always offered to get people sandwiches from the White Hen Pantry (“Anyone need anything from ‘The Hen?’”).
Sometimes, when the news day got super-slow — for example, when Notre Dame football coach Lou Holtz was in the studio doing a live call-in show — I passed the time by trying to guess the usually ridiculously easy passwords for the WBBM staff’s new computers and snooping in the reporters’ early version of email in a futile effort to find anything interesting. Apologies to the late Dale McCarren (DMC123).
I was working the evening shift when the top news story was about Father Lawrence Martin Jenco, a Catholic priest from Joliet, Illinois, who had been taken hostage in Beirut while he was working for a relief agency. Muhammad Ali was part of a delegation that had flown to the Middle East to try to arrange his release.
Meet Broken Hologram | RSS.com
My supervisor was a terrific guy named Duane Gray, an African-American Conservative who was big on conspiracy theories (“You should read this book. It’s called The Terror Network.”). He was a great manager and colleague who made sure that we kept to the schedule and that traffic, weather, sports and news headlines always came right when they were supposed to. On this particular night, Duane gave me a mission: “Get ‘The Champ’ on the phone.”
“Uh, how do I do that, Duane?”
“Call every hotel,” he said.
He scrawled a list of hotels in Tel Aviv and Jerusalem on a legal pad and I started calling Information to get their numbers. Advantage of working for a CBS affiliate: You got to make all the long-distance calls you wanted.
How many calls did I make? What were the names of all the hotels? I have no idea. But I do remember that one of them was the King David Hotel in Jerusalem because this time, when I asked to be transferred to Ali’s room, no one said, “Sorry, no one here by that name.”
Ali picked up. His voice had that raspy quality it got after he retired from boxing. “Hullo?”
“Hi, I’m calling from Newsradio 78. I was hoping one of our anchors could speak with you.”
“You’re calling from Chicago?” he asked.
“Yeah.”
“Man,” Ali told me, sounding weary but amiable. “It sounds like you’re calling from right next door.”
Duane could be a wise-ass and a cynic, but now he was star-struck. He sprang to his feet. “Is that the Champ?”
I nodded.
Duane grabbed the phone. “How’re you doin, Champ? You’re gonna be on with Dale McCarren. I’m gonna patch you through, Champ.” He gave me a hearty high-five.
Some time later — perhaps after a week, perhaps after two — when Madonna was in town for some concert, movie junket or photo shoot and Duane told me he wanted to get her on the air, I knew exactly what to do.
After I got her on the phone at her hotel and transferred the call to Duane, he shouted: “This kid,” he said, complimenting both me and his own managerial talent, “has the best news instincts of anyone in this newsroom!”
“Hello, Madonna?” Duane said into the phone. “You’re gonna be on with Dale; let me patch you through.”
The post What Muhammad Ali taught me from his Jerusalem hotel appeared first on The Forward.
